Gaining decades of computer graphics experience, both on the creative and technical-side, I've started an animation studio with two other trusted compatriots.Honeybee Studios was conceived to produce high-quality CG works, with a Western twist. We are located in Tokyo, Japan, and boast a tight crew of veteran CG artists. Our uniqueness lies in our complete understanding of Japanese visual styles, as well as Western techniques.I'm the Chief Technical Officer and handle pretty… Show more Gaining decades of computer graphics experience, both on the creative and technical-side, I've started an animation studio with two other trusted compatriots.Honeybee Studios was conceived to produce high-quality CG works, with a Western twist. We are located in Tokyo, Japan, and boast a tight crew of veteran CG artists. Our uniqueness lies in our complete understanding of Japanese visual styles, as well as Western techniques.I'm the Chief Technical Officer and handle pretty much all-things-tech in the studio. As also Animation Director, I ensure that the work we do is up to my standards of quality. Show less

I am directing cinematography, as well as final animation, for a yet-unannounced long-form RPG.I also give workflow, as well as technical suggestions, to improve the overall production.I am contracted through my company, Honeybee.

Studio CG SupervisorMy overall task was to bring greater efficiency to the production pipeline at Sola. Working closely with the Lead Technical Director, we created Genesys: a no-nonsense, fast, production pipeline. With my over 20-years of industry experience both on the floor, and managing my own studio, we created a fast-flowing data and communication system which encompassed all departments in production.I was contracted through my studio, Honeybee.

Animation Supervisor for Ghost in the Shell: SAC_2045 (Season 1)I was brought on-board near the tail-end of the season to ensure the quality of animation met the clients' requirements. As well as animation quality-control, I led the animation department on technical needs and relayed with the other various departments to find solutions to production issues. I also developed a facial animation workflow to level-up the quality and speed of hand-keyed lipsync animation.I was… Show more Animation Supervisor for Ghost in the Shell: SAC_2045 (Season 1)I was brought on-board near the tail-end of the season to ensure the quality of animation met the clients' requirements. As well as animation quality-control, I led the animation department on technical needs and relayed with the other various departments to find solutions to production issues. I also developed a facial animation workflow to level-up the quality and speed of hand-keyed lipsync animation.I was contracted through my studio, Honeybee. Show less

I was one of the narrative cinematics creators for Final Fantasy 7 Remake. I handled the mocap performance direction, camera-work, and editing for many of the heavy action-sequences. We used Motionbuilder as the base software to ingest the capture data, then shot the sequences within the software.I was contracted through my own studio, Honeybee.

From initial storyboard blocking, to cinematography, to final animation, I lead a team of artists to complete the visual communication of stories.Training crew in camera-work and in both artistic and technical animation techniques is part of my responsibilities.I am also deeply involved with the framework-development of our in-house technical pipeline on both the CG-side and IT backend. I deal in both hardware and software decisions and purchases (server-side and artist-side)… Show more From initial storyboard blocking, to cinematography, to final animation, I lead a team of artists to complete the visual communication of stories.Training crew in camera-work and in both artistic and technical animation techniques is part of my responsibilities.I am also deeply involved with the framework-development of our in-house technical pipeline on both the CG-side and IT backend. I deal in both hardware and software decisions and purchases (server-side and artist-side), as well as infrastructure planning. Always looking for ways to streamline the production pipeline, I have my ear to the ground for trends in all-things-tech. Show less

Lead Layout Cinematographer for Final Fantasy XV, by Square Enix, Japan.

Lead Creature Animator for Final Fantasy XV, by Square Enix, Japan.

Freelancing as a Technical Animator here in Tokyo for both local and remote projects.

Worked on all-Japanese anime productions such as: ダンボール戦機 (Cardboard War Machines) UsavichAdditional Pipeline consultation

Shot-cinematography, Layout and Animation -- Tron: UprisingAdditional Pipeline consultation

Shot cinematography -- Transformers: PrimeAdditional Pipeline consultation

Lead Animator -- Transformers: PrimeAdditional Pipeline consultation

Lead NIS and in-game animator

Previz Lead Artist for feature film on projects such as "The Day the Earth Stood Still", "Dragonball", "Night at the Museum 2". Worked with Previz Supervisor to ensure projects were completed on time at the highest quality possible.

Established a full production pipeline for episodic television shows from the ground-up. Advanced current proprietary tools by working alongside the Software engineers. Increased efficiency of all departments with new methodologies, workflows and software. Contributed to overall pipeline of production from Design to Modelling, Animation to Rendering and Visual FX to Online on a technical front. Newly-integrated Rendering and Compositing departments were successfully implemented into the… Show more Established a full production pipeline for episodic television shows from the ground-up. Advanced current proprietary tools by working alongside the Software engineers. Increased efficiency of all departments with new methodologies, workflows and software. Contributed to overall pipeline of production from Design to Modelling, Animation to Rendering and Visual FX to Online on a technical front. Newly-integrated Rendering and Compositing departments were successfully implemented into the pipeline. Technical issues were logged and managed through myself to the Software team. Also animated shots for current shows or special projects, especially those which needed heavy technical attention. Show less

Animation, rigging and character set-up, modelling, texturing under heavy deadlines

Animation theory and software execution training. Theory includes education on posing, timing and acting. Software execution involves fcurve manipulation, on-the-fly rigging and tips/tricks to animate faster. Also directing and editing students' final project.

Responsible for lighting, rendering and compositing shots; followed direction of lighting supervisor; managed fixes between animation and lighting department; create work-arounds within compositor to complete shots quickly

Supervising Animator, Episode 5 Spiderman: The Animated Series; responsible for keeping animation team moving forward by dealing with technical hiccups; worked closely with modelling and FX departments to ensure that broken assets were fixed and ready for animators to use; instructed animators on action animation theory and execution; worked with Producer to assess the viability of client notes; kept show within schedule and within budget; animated difficult action shots

Lead a team of animators from the beginning of an episode straight through to the end. Worked with director and supervising animator to motivate team and also keep track of individual work output. Led teams by example.

Responsible for animating sequences distributed by the espisodic director; lighting, rendering and compositing those shots